The Life and Music of Erskine Hawkins Lessons 021 - 022 DATES Jan

Total Page:16

File Type:pdf, Size:1020Kb

The Life and Music of Erskine Hawkins Lessons 021 - 022 DATES Jan The Life and Music of Erskine Hawkins Lessons 021 - 022 DATES Jan. 23 – Feb. 3, 2012 (2 classes) Lessons © www.musictechteacher.com / Ms. Karen L. Garrett Each Music Technology student in the 2nd - 5th grades will receive one 30-45 minute lesson per week. The class structure is ‘work- at-your-own-pace’ because students are not required to have any materials or music equipment to participate. Essential Questions: Who was Erskine Hawkins? What type of music was he famous for composing and performing? What is Tuxedo Junction? Objectives: * Students will study the life of a famous jazz musician – Erskine Hawkins * Selected students will start working on ‘Tuxedo Junction.’ * Students will complete a quiz about Erskine Hawkins on our website. * Students will complete one or two pages in the Alfred Basic Piano Library Level 1A (varies based on student level). Materials: Alfred 1A Piano Books, keyboards and related equipment, computers with our website posted, recording of a composition and / or video by Erskine Hawkins viewed from the teacher’s laptop and a projector, copies of Tuxedo Junction music. Standards: National MENC Standards: (2) Performing on instruments, alone and with others, a varied repertoire of music. (6) Listening to, analyzing and describing music. (9) Understanding music in relation to history and culture. TI:ME Technology Strategies: (4) Technology-Assisted Learning (5) Multimedia and Digitized media Procedures: 1) The teacher will introduce information about Erskine Hawkins. Some of the sources include information from the Alabama Music Hall of Fame and various websites about Erskine Hawkins. The teacher will play a selection of music from Erskine Hawkins (Tuxedo Junction - MP3 - iTunes). Show a brief video clip of Erskine Hawkins from YouTube (advertising cut, filmed in 1938 – possibly Swinging in Harlem song). 2) The students will complete the ‘Quiz on Erskine Hawkins’ quiz on our website. http://www.musictechteacher.com. Record the grade for each student or have the student print the score if a printer is available. Students that receive a high score may get a reward (music pencil, stickers, buttons). 3) Selected students who are interested in playing more difficult music may start working on ‘Tuxedo Junction’ on the keyboard. This could be one of our selections to play for the All City Band Evaluation in April/May if students can play it well. Music handouts are available and the music is also posted in students’ Noteflight accounts. We are also going to try and prepare this song for the Black History Program in late February. 4) Students will complete various pages in the Alfred Basic Piano Library Book 1 based on individual student progress. Video (digital camera) some of the students and post it immediately using the projector for review and feedback. They also may choose to play songs from our website (Flash piano practice pages). 5) If time allows, students may play some of the other quizzes on our website related to other jazz musicians. A Jazz Musician Help Page is available on the site to read about other jazz musicians and listen to clips of music by each musician. Students may also work on Sibelius or Noteflight music notation projects. (continued) The Life and Music of Erskine Hawkins Lessons 021 - 022 DATES Jan. 23 – Feb. 3, 2012 (2 classes) Lessons © www.musictechteacher.com / Ms. Karen L. Garrett Evaluation… - Students will answer questions successfully demonstrating knowledge about the life of Erskine Hawkins. - Students will complete the Erskine Hawkins quiz with a score of 80 or higher. - Students complete the assigned pages in the Alfred Basic Piano Book with understanding of concepts and performance of the songs for the teacher. - Selected students will show an understanding of how to perform the first lines of ‘Tuxedo Junction’ on the keyboard. Essential Questions: Who was Erskine Hawkins? What type of music was he famous for composing and performing? What is Tuxedo Junction? Erskine Hawkins (1914-1993) was a famous jazz composer and trumpet player. One of the most famous recordings that Erskine Hawkins wrote and performed was ‘Tuxedo Junction.’ Tuxedo Junction was a street car crossing and a dance hall at the corner of 19th Street and Ensley Avenue in Birmingham. From the Alabama Music Hall of Fame - “He drew on memories of a neighborhood nightspot for his classic big band standard "Tuxedo Junction," a jazzy number that became the most popular song of the World War II era. Hawkins was born in Birmingham in 1914, the son of a U.S. soldier who lost his life in military action during the first world war. The young musician began playing drums at the age of 7, moved on to the trombone, then decided at the age of 13 to play the trumpet. While attending the State Teachers College in Montgomery, Hawkins became leader of a band called the Bama State Collegians. The group traveled to New York City during the depression and generated funds used to help keep the institution afloat during its hard times. The band drew a strong public following, especially at the posh Savoy Ballroom. During the 40s and 50s, Hawkins helped discover several first-rate jazz musicians who drifted in and out of his band, including Paul and Wilbur Bascomb, Sammy Lowe, Haywood Henry and Avery Parrish. He also became one of the principal influences on a young rhythm and blues piano player named Ray Charles.” Extension: - Use your Noteflight account to practice ‘Tuxedo Junction’ along with the keyboard. - Make your own Erskine Hawkins quiz using Hot Potatoes software and the handout worksheets about Hawkins. - Research additional information about Erskine Hawkins on the Internet. (Alabama Music Hall of Fame - http://www.alamhof.org/erskinehawkins.html, All About Jazz.com - http://www.allaboutjazz.com/php/musician.php?id=2677). Erskine Hawkins (July 26, 1914-Nov. 11, 1993) (http://www.alamhof.org) (www.allaboutjazz.com) 1989 Alabama Music Hall of Fame Inductee (Lifework Award) 1978 Alabama Jazz Hall of Fame Inductee Birmingham, AL native Erskine Hawkins drew on his musical memories of a neighborhood nightspot when he composed the classic jazz standard “Tuxedo Junction,” a bouncy big band number that would become one of the most popular tunes of the World War II era. Hawkins’ father was a soldier who lost his life in combat during World War I. Named after Alabama industrialist Erskine Ramsay, the young musician began playing drums at the age of seven, then moved on to trombone. At the age of thirteen, he decided to channel his talents into his true musical calling – the trumpet. At the height of the big band era, Hawkins’ signature high-note trumpet inspired an appropriate musical nickname, “The 20th Century Gabriel.” Hawkins attended Industrial High School in Birmingham, where one of his instructors was J.T. “Fess” Whatley, an influential African American music teacher who trained many of the musicians who went on to populate jazz bands fronted by Louis Armstrong, Duke Ellington and Skitch Henderson. While attending Alabama State Teachers College in Montgomery, Hawkins became the leader and trumpeter for a band called the Bama State Collegians. In 1934, the group traveled to New York City during the Depression, generating much-needed funds to help keep the teachers college afloat during those times of economic hardship. The band went on to draw a loyal and enthusiastic public following during its high- profile engagements at the posh Savoy Ballroom. (Hawkins, whose biggest influences were Louis Armstrong records, skipped out on one Bama State Collegians band trip to New Jersey so he could play some gigs in New York. At one of these early shows, Armstrong surprised him backstage at the Apollo Theater. From then on, whenever Hawkins came to New York, Armstrong would also take the stage at the Savoy Ballroom.) The Bama State Collegians eventually evolved into the Erskine Hawkins Orchestra, with the group making its recording debut in 1936. With Hawkins and bandmate Dud Bascomb sharing trumpet solos, Paul Bascomb or Julian Dash on tenors, Haywood Henry on baritone and Avery Parrish on piano, the orchestra developed into a solid swing band that delighted jazz enthusiasts and swing dancers alike. Hawkins’ group scored three major jazz and pop hits during the World War II era (Tuxedo Junction, After Hours and Tippin’ In). His orchestra’s original recording of ‘Tuxedo Junction’ climbed to No. 7 on the charts in 1940, while the Glenn Miller Orchestra’s version became even more successful, climbing all the way to No. 1. The song has been covered by Duke Ellington, Harry James, the Andrews Sisters, Stan Kenton, Quincy Jones, Chet Atkins, King Curtis, Floyd Cramer, Gene Krupa, Duane Eddy, Joe Jackson and Manhattan Transfer. During the 1940s and ’50s, Hawkins helped discover several first-rate jazz musicians who drifted in and out of his orchestra, including Avery Parrish, Haywood Henry, Paul and Wilbur Bascomb and Sammy Lowe, plus vocalists Ida James, Delores Brown and Della Reese. Hawkins’ later recordings lean more toward rhythm- and-blues than jazz, and he became one of the chief musical influences on young R&B singer, songwriter and pianist Ray Charles. (Hawkins' band was so popular that he was able to retain a permanent roster of players, most of whom were from Birmingham. The style was “down-home” and blues-inspired, but it could still swing and lay down a great dance beat. Two of his chief arrangers were pianist Avery “After Hours” Parrish and trumpeter Sammy Lowe.) The Erskine Hawkins Orchestra continued recording and performing through 1953, scoring a Top 30 hit in 1948 with another of Hawkins’ jazz compositions, “Gabriel’s Heater.” The group returned for a 1971 reunion album, Live at Club Soul Sound. Seven years later, Hawkins – who continued to play trumpet and perform live well into his 70s – became one of the first five artists inducted into the Alabama Jazz Hall of Fame in 1978.
Recommended publications
  • The BG News May 4, 2001
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 5-4-2001 The BG News May 4, 2001 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News May 4, 2001" (2001). BG News (Student Newspaper). 6812. https://scholarworks.bgsu.edu/bg-news/6812 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. State University FRIDAY May 4, 2001 SOCCER: PARTLY CLOUDY Men's, women's teams HIGH: 76 | LOW: 47 start training in summer www.bgnews.com to be at the top; PAGE 10 independent student press VOLUME 90 ISSUE 152 Hitting Conklin students upset links at Residents hold meeting with Carter administrators to discuss maintenance Park By Jordan Fouts By IvyIckes CITT REPORTER *0M[N S REPORTER Putting a new spin on an old New is better. game, Carter Park will hosl its But that was not the case this annual disc golf tournament past year in Conklin Hall. tomorrow morning. Tuesday night, the residents Billing itself as the "World's of Conklin met with Linda Biggesl Disc Golf Tournament," it Newman, director of Residence is part of a national coordination Life and lim Zentmeyer, associ- by Circular Productions, a disc ate director of golf course design and installation Housing/Operations and company.
    [Show full text]
  • Brand New Beat
    Ready for a BRAND NEW BEAT How “DANCING IN THE STREET” Became the Anthem for a Changing America MARK KURLANSKY Riverhead Books A member of Penguin Group (USA) Inc. New York 2013 C H APT E R O N E ARE YOU RE ADY? or my generation rock was not a controversy, it was a fact. F My earliest memory of rock ’n’ roll is Elvis Presley. For others it may be Bill Haley or Chuck Berry. For people born soon after World War II, rock ’n’ roll was a part of childhood. The rock- ers, especially Elvis, are remembered as controversies. But there was no controversy among the kids. They loved the songs, their sense of mischief and especially the driving beat. The controversy came from adults. Only adults attacked Elvis or rock ’n’ roll. The controversy was only in their minds—on their lips. It was the begin- ning of what came to be known as “the generation gap,” a phrase coined by Columbia University president Grayson Kirk in April 1968, shortly before students seized control of his campus. There has never been an American generation that so identified with its music, regarded it as its own, the way the Americans who grew up in the 1950s and 1960s did. The music that started as a subversive movement took over the culture and became a huge, commercially dominant industry. The greatest of the many seismic shifts in the music industry is that young people became the target audience. In no previous generation had the main thrust of popular music been an attempt to appeal to people in their teens.
    [Show full text]
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
    [Show full text]
  • 88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
    The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.
    [Show full text]
  • Modeling Musical Influence Through Data
    Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences.
    [Show full text]
  • Cash Box , Page 38 23, 1959 Album Reviews
    — May The Cash Box , Page 38 23, 1959 Album Reviews POPULAR PICKS cont. “TO WHOM IT MAY CONCERN’’—Nat “TWO TIME WINNERS”- -Andy Williams “King” Cole—Capitol W 1190 & Stereo SW —Cadence CLP 3026 1190 Andy Williams, who most recently scored Nat “King” Cole lends his warm expres- with “Hawaiian Wedding Song,” has sive tones to 12 new songs, all of which chosen for his newest Cadence LP a dozen are of the love ballad kind—undoubtedly standards that have recently witnessed a Cole’s ablest vehicles. The title song, co- big pop revival by various artists. He penned by the singer, is from his current indulges the tunes with the modern beat him, ‘ The Night of the Quarter Moon.” treatment, attesting to their indestruct- Other tunes include “Love-Wise,” “In The ibility. Included are “Twilight Time,” “My Heart of Jane Doe,” “If You Said No”, “This Happiness,” “It’s All in the Game,” “Love Morning It was Summer.” No obstacles Letters in the Sand,” “Blueberry Hill” and block the hit path of Cole’s latest effort. his own hit. A chart stand awaits this set. ‘HOLLYWOOD IN RHYTHM”—Ray Coniff IN RHYTHM HOLLYWOOD and his Orch.—Columbia CL 1310 & Stereo RAY CONNIFF CS 8117 Musical Medicine “MUSICAL MEDICINE BY MIKE PEDICIN In his third “Rhythm” album (“Broadway Apollo 484 In Rhythm” now on the lists following a b>'Mikt Package is a successful run of “Concert In Rhythm”), potpourri of combo-vocal rhythm stanzas by the Pedicin outfit, Ray Coniff continues his pace setting ar- mostly taken at rangements of old favorites, turning here a lively rock beat.
    [Show full text]
  • DYNATRON 74 R A
    "Lord, ain't it funny how time slips away?" asked a semi-popalar song of the day. ((I hope, nobody a6lu which day..,I can't necaJUL i£ that wab con­ temporary with Sweet Tuxedo Girt, Tuxedo Junction or Life in the Faat Lane.)) No, it ain't. Not the least bit. This issue was planned for November 1980 and what with one thing and another I think the actual publication date will be February 1981. Still I suppose that is better than September. The ex­ cuses are all standard so pick whichever you can think of and apply it to the seni-lateness of this issue. Semi because I really do not have any particular schedule to stick to and the zine gets published whenever. When­ ever I get around to it. (Not to be confused with ROUND TUTT which is Becky Cartwright’s FLAPzine. This isn’t a FLAPzine although copies will probably showup there as well as elsewhere. Maybe even elsewhen. Elsewhere or here or elsewhen or even now this is the 74th issue of DYNATRON a faznine (a what?) of sorts. A fanzine of sorts (got it right that time) concerned with nothing serious—just the usual stf. DYNATRON is available for 50q per copy or, preferably, trades, contributions of material, and letters of comment. (The usual, as most ignorant fanzine reviewers say although I prefer the unusual.) CONTRIBUTIONS OF ARTICLES, ESSAYS, REVIEWS, ETC., ARE NEEPEP.^ The files are empty and ol’ Roytac is about run dry. There isn't much incentive to publish when there isn’t any­ thing to publish.
    [Show full text]
  • Big Al's R&B, 1956-1959
    The R & B Book S7 The greatest single event affecting the integration of rhythm and blues music Alone)," the top single of 195S, with crossovers "(YouVe Got! The Magic Touch" with the pop field occurred on November 2, 1355. On that date. Billboard (No. 4), "The Great Pretender" and "My Prayer" (both No. It. and "You'll Never magazine expanded its pop singles chart from thirty to a hundred positions, Never Know" b/w "It Isn't Bight" (No. 14). Their first album "The Platters" naming it "The Top 100." In a business that operates on hype and jive, a chart reached No. 7 on Billboard's album chart. position is "proof of a record's strength. Consequently, a chart appearance, by Frankie Lymon and the Teenagers, another of the year's consistent crossover itself, can be a promotional tool With Billboard's expansion to an extra seventy artists, tasted success on their first record "Why Do Fools Fall In Love" (No. 71, positions, seventy extra records each week were documented as "bonifide" hits, then followed with "I Want You To Be My Girl" (No. 17). "I Promise To and 8 & B issues helped fill up a lot of those extra spaces. Remember" (No. 57), and "ABCs Of Love" (No. 77). (Joy & Cee-BMI) Time: 2:14 NOT FOR S»U 45—K8592 If Um.*III WIlhORtnln A» Unl» SIM meant tea M. bibUnfmcl him a> a ronng Bnc«rtal««r to ant alonic la *n«l«y •t*r p«rjform«r. HI* » T«»r. Utcfo WIIII* Araraa ()•• 2m«B alnft-ng Th« WorM** S* AtUX prafautonaiiQ/ for on manr bit p«» throoghoQC ih« ib« SaiMt fonr Tun Faaturing coont^T and he •llhan«h 6.
    [Show full text]
  • Alabama African American Historic Sites
    Historic Sites in Northern Alabama Alabama Music Hall of Fame ALABAMA'S (256)381-4417 | alamhof.org 617 U.S. Highway 72 West, Tuscumbia 35674 The Alabama Music Hall of Fame honors Alabama’s musical achievers. AFRICAN Memorabilia from the careers of Alabamians like Lionel Richie, Nat King Cole, AMERICAN W. C. Handy and many others. W. C. Handy Birthplace, Museum and Library (256)760-6434 | florenceal.org/Community_Arts HISTORIC 620 West College Street, Florence 35630 W. C. Handy, the “Father of the Blues” wrote beloved songs. This site SITES houses the world’s most complete collection of Handy’s personal instruments, papers and other artifacts. Information courtesy of Jesse Owens Memorial Park and Museum alabama.travel (256)974-3636 | jesseowensmuseum.org alabamamuseums.org. 7019 County Road 203, Danville 35619 The museum depicts Jesse Owens’ athletic and humanitarian achieve- Wikipedia ments through film, interactive exhibits and memorabilia. Scottsboro Boys Museum and Cultural Center (256)609-4202 428 West Willow Street, Scottsboro 35768 The Scottsboro Boys trial was the trial pertaining to nine black boys allegedly raping two white women on a train. This site contains many artifacts and documents that substantiate the facts that this trial of the early 1930’s was the beginning of the Civil Rights Movement. State Black Archives Research Center and Museum 256-372-5846 | stateblackarchives.net Alabama A&M University, Huntsville 35810 Unique archive museum center which serves as a repository of African Ameri- can history and culture providing a dialogue between present and past through archival collections and exhibits. Weeden House Museum 256-536-7718 | weedenhousemuseum.com 300 Gates Avenue, Huntsville 35801 Ms.
    [Show full text]
  • Of Music. •,..,....SPECIAUSTS • RECORDED MUSIC • PAGE 10 the PENNY PITCH
    BULK ,RATE U.S. POSTAGE PAID Permit N•. 24l9 K.C.,M •• and hoI loodl ,hoI fun! hoI mU9;cl PAGE 3 ,set. Warren tells us he's "letting it blow over, absorbing a lot" and trying to ma­ triculate. Warren also told PITCH sources that he is overwhelmed by the life of William Allan White, a journalist who never graduated from KU' and hobnobbed with Presidents. THE PENNY PITCH ENCOURAGES READERS TO CON­ Dear Charles, TR IBUTE--LETTERSJ ARTICLES J POETRY AND ART, . I must congratulate you on your intelli­ 4128 BROADWAY YOUR ENTR I ES MAY BE PR I NTED. OR I G I NALS gence and foresight in adding OUB' s Old­ KANSAS CITY, MISSDURI64111 WI LL NOT BE RETURNED. SEND TO: Fashioned Jazz. Corner to PENNY PITCH. (816) 561·1580 CHARLES CHANCL SR. Since I'm neither dead or in the ad busi­ ness (not 'too sure about the looney' bin) EDITOR .•...•. Charles Chance, Sr. PENNY PITCH BROADWAY and he is my real Ole Unkel Bob I would ASSISTING •.• Rev. Dwight Frizzell 4128 appreciate being placed on your mailing K.C. J MO 64111 ••. Jay Mandeville I ist in order to keep tabs on the old reprobate. CONTRIBUTORS: Dear Mr. Chance, Thank you, --his real niece all the way Chris Kim A, LeRoi, Joanie Harrell, Donna from New Jersey, Trussell, Ole Uncle Bob Mossman, Rosie Well, TIME sure flies, LIFE is strange, and NEWSWEEK just keeps on getting strang­ Beryl Sortino Scrivo, Youseff Yancey, Rev. Dwight Pluc1cemin, NJ Frizzell, Claude Santiago, Gerard and er. And speaking of getting stranger, l've Armell Bonnett, Michael Grier, Scott been closely following the rapid develop­ ~ Dear Beryl: .
    [Show full text]
  • History of Jazz Tenor Saxophone Black Artists
    HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz.
    [Show full text]
  • Magic City Jazz: John T. “Fess” Whatley and the Roots of the Birmingham Jazz Tradition
    MAGIC CITY JAZZ: JOHN T. “FESS” WHATLEY AND THE ROOTS OF THE BIRMINGHAM JAZZ TRADITION Burgin Mathews A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2020 Approved by: Glenn Hinson Bill Ferris Patricia Sawin Tolton Rosser © 2020 Burgin Mathews ALL RIGHTS RESERVED ii ABSTRACT: Burgin Mathews: Magic City Jazz: John T. “Fess” Whatley and the Roots of the Birmingham Jazz Tradition (Under the direction of Glenn Hinson) The city of Birmingham, Alabama, was once home to a thriving music community that helped shape the sound and culture of jazz nationwide; at the heart of this tradition was a public schoolteacher named John T. “Fess” Whatley. Often consigned by historians to the footnotes or overlooked altogether, Black educators like Whatley played a key role in the development of jazz. But these educators’ training and impact were much more than musical. In the depths of the Jim Crow South, the music provided Black individuals and communities a means of affirmation and unity, communicated a set of cultural values, and equipped students with essential strategies for survival. Remarkably, this revolutionary work was achieved through the channels of formal education and in the face of pervasive segregation. As Whatley’s own innovations demonstrated, the very restrictions of African American industrial education could be refigured as an opportunity for creativity and empowerment. iii ACKNOWLEDGEMENTS Many thanks to the four members of my thesis committee— Glenn Hinson Patricia Sawin Bill Ferris and Tolton Rosser —for graciously lending their time, support, insight, experience, and enthusiasm to this project.
    [Show full text]